Poems: The Location of Things, Archaics, The Open Skies by Barbara Guest (Doubleday, 1962). 95 pages, hardcover with cover drawing by Robert Dash.

In January 2017, Brandon Shimoda sent me a message on Twitter that he had a copy of this book by Barbara Guest, he said, "which is ALLEGEDLY signed by Ted Berrigan, though I never believed it...It does say Ted; the book's in rough shape...Anyway, not knowing you, I thought of you...Do you want it?" He had bought it in Fayetteville and offered to send it to me for free. I said I'd love to have it. "I mean, there's no way (is there?) that TB signed a book BY Barbara Guest, but so the store claimed; it's where Matt Henriksen used to work. I bought it for something like $5, which only confirms the lie, but I guess the lie is also part of the legend, however much of the gutter, idle fantasy." I replied "It's totally possible that it is Ted's signature, but I wouldn't know anything without seeing it. He did sometimes sign his name in copies of others' books and signs his name in pages of his journals, etc, as a kind of performative framing. I don't know how it'd get to Fayetteville. But objects are wild, and you're right, hold the lie." This remains one of the best things that Twitter has ever allowed to happen.

It turns out that this copy of Guest's Poems is actually signed by Berrigan, which for books that came through Ted's possession isn't an uncommon occurrence. This book Berrigan gave as a gift, as his signature appears on the first blank page in pencil with a brief note, "Happy Birthday etc. Love, Ted." A bookmark for Dickson Street Bookshop where Shimoda bought the book is laid in with the note "Signed by Ted Berrigan." The handwriting, especially the large loop on the 'd' in "Ted," looks like other examples of Berrigan's handwriting from the early 1960s not long after he moved to New York City, so he likely bought (or stole) the book when it was new in 1962, soon before offering it as a gift to a friend. But why would such a rare New York School association copy of Guest's first book on a major press (only preceded by the Tibor de Nagy edition of The Location of Things) only cost $5? The book's personal history gets more complex on the inside of the back cover where in pencil the bookseller has written: "Note dated poem by Ted Berrigan and signed at front" with an arrow point to the left, where the book's final page would be. However, this note has been crossed out, underneath is written "STOLEN," and the book's final page, where the handwritten poem appeared, has been completely torn out. You can see the edge of the torn out page against the binding. It's terrible to be missing the handwritten, original Berrigan poem--likely a pre-The Sonnets work--and also to be missing the context given by the date. Ted regularly wrote in copies of books and magazines, sometimes adding one-off, original poems as he did here, but it's unclear who he gave this copy of Guest's book to. One would like to think Berrigan gave the book to Gerard Malanga on his birthday, who then reviewed this copy in the Spring 1965 issue of Kulchur magazine whose reviews section was then being edited by Berrigan. "In Barbara Guest," Malanga writes, "we have a poet of a sensitivity far removed from direct influences, a poet who has added fresh, even humorous, associations to her subject matter by a hallucinatory power of juxtaposition." (See the full review below.)

Regardless of who Berrigan actually presented the book to, it's exciting to wonder if the scant marginalia throughout the copy, mostly vertical lines along particular stanzas or X's by the titles of some poems, all in pencil like the dedication and signature, could be Berrigan's own. The last stanza in Guest's poem "Les Réalités" is one of the marked stanzas, and I can see how its sonic oddnesses and off-kilter play with symbolism would have appealed to Berrigan's sensibilities. Then first experimenting with amphetamines in the early 1960s, he might have also have found some humor in the lines "as this pharmacy / turns our desire into medicines."

Guest's "Sunday Evening" is one of the few poems with an "X" marked by the title. Playing off Wallace Stevens's "Sunday Morning," the poem's colloquial, mysterious direct addresses, juxtapositions, formal repetitions, slightly bent images, and even the sonic texture of its vocabulary are all qualities Berrigan would have been attracted to. It's a little uncanny to read this poem with Berrigan in mind, as it starts to feel like a palimpsest for the moves and sounds in The Sonnets. Guest's lines "In the red, in the air, in what is falling through us / We quote several things" could act as an aesthetic description of Berrigan's collage of lineages in his poems. I'm not sure anyone has even attempted to read Berrigan and Guest in proximity, and I'm glad Shimoda sending me this book could lead to this sort of idiosyncratic reading. Books like this one, which are evidence of how oddly and magically books move through the world as these records of people, devotions, moments, thinking, care, lostness, and mystery, are exactly why I started writing the "Crystal Set" series in the first place. Objects are wild and attending to their wildness, acknowledging how their material residues refract and alter exchangeable narratives, can help us to reorient how we imagine the work of scholarship.

Read Erica Kaufman's excellent review of The Location of Things in Jacket2:

This dichotomy of inside/outside, voyeur/actor resonates throughout the book and continues to remind the reader that women do not have the luxury of occupying space in the same way men (her male contemporaries) do/did. In these early poems, we see the surfacing of Guest’s commitment to poetry that works as painting or architecture — poetry that demands the reader look at the thing in front of him/her and then let it teach them to occupy space, with one eye on object and the other on the gendered body that views it.

In February I Think by Elio Schneeman (C Press, 1978). Side stapled, 22 mimeographed pages with covers by George Schneeman.

In New York School Painters & Poets: Neon in Daylight, Jenni Quilter illustrates a distinction between the personal and aesthetic worlds of first- and second-generation New York School poets by pointing out that in the photo to the right, in contrast to most group photographs of Ashbery, O'Hara, Rivers, Freilicher, and the like, adorned with khakis, cocktails, and pressed collars, in the photograph of the second generation poets "the children almost outnumber the adults, they are in the middle of a softball game at Staten Island, and a certain scruffiness is de rigueur." The families, partners, and children of the poets of the younger New York School artists have always lovingly crowded my own reading of their work, not only because so many of their relationships were with other poets but because some of their children, now adults, are also established writers and artists. I'm thinking of Ada Calhoun, the daughter of Brooke Alderson and Peter Schjeldahl, whose terrific St. Marks Is Dead: The Many Lives of America's Hippest Street was published in 2016, or when I recently walked into a gallery in Atlanta to be surprised by a set of photo collages by Max Warsh, the son of Bernadette Mayer and Lewis Warsh. From Amiri Baraka's haunting, anxious, traumatic "Preface to a Twenty Volume Suicide Note," in which "I tiptoed up / To my daughter's room and heard her / Talking to someone" to Alice Notley's Song For the Unborn Second Baby that begins "Pregnant again involucre / (sounds gorgeous)," studying these poems also means studying families.

Elio Schneeman wearing t-shirt with George Schneeman print

Elio Schneeman, the son of artist George Schneeman, pictured wearing a baseball cap in the right corner of the above photograph, is one of the New York School children who became a New York School artist in their own right. Born in 1961, Elio was a teenage poet when Ted Berrigan and Alice Notley moved back to New York City in the mid-70s. The Schneeman's St. Marks Street apartment had been a social and artistic common ground since the mid-60s and George's increasing collaborations with Ted and Alice upon their return to New York put Elio in intimate proximity to his father's friends. In the fall of 1978, when he was 16 years old, Elio attended a series of workshops led by Berrigan at the Poetry Project, a friendly and serious occasion for mentorship and aesthetic education that led directly to his first book, which would be published by Berrigan. "Last night Elio Schneeman came over and said he’d like me to do a 'C' Press book by him," Ted writes in his journal on October 4, "I said sure." Reading Ted's journal over the next few weeks is a dreamy illustration of just how casual and collaborative the publishing process could be among the Lower East Side poets. October 16: "Tonight we took presents to the Schneeman’s for Elio’s [17th] Birthday. I gave him NO BIG DEAL, Tom Clark’s Mark Fidrych book. Alice gave him an opal, and the kids made pictures for him." A day or so later: "Tomorrow Bob [Rosenthal] + I run off Elio’s book at the Church, a 'C' Press book now called IN FEBRUARY I THINK. I finished typing the stencils tonight....George did a terrific cover and back cover for Elio's book." October 20: "George, Elio and I collated half of Elio’s book, which is beautiful with George’s front and back covers, tho my typewriter leaves a lot to be desired." October 21: "Today Alice + George + Steve [Carey] + Elio + I finished collating Elio’s book." From start to finish, In February I Think was planned and printed in less than three weeks, just in time for the St. Mark's Church Fire Benefit event at CBGB on Saturday October 26, for which Berrigan was the MC. A fire had badly damaged the Church in late July 1978, more than a dozen years into the experiment of the Poetry Project. Poets like Paul Blackburn and Carol Bergé had helped established the Project in 1966, but the fundraiser at CBGB was a punk-driven reconfiguration of the East Village scene of the '60s. In his notebook after the event, Ted lists his “Heroes,” “Losers,” “First Team,” “Winner,” and “Rookie of the Year” for the CBGB reading. Among readings and performances by Allen Ginsberg, Anne Waldman, The Erasers, John Ashbery, The B Girls, and Richard Hell and the Voidoids featuring Elvis Costello, Elio earns the title "Rookie of the Year," the same distinction Ted half-jokingly gave himself after his reading at the Berkeley Poetry Conference in 1965. It's fitting then that In February I Think would turn out to be the last ever "C" Press publication, the final title in a mimeographed hall-of-fame list of books that began with Ted's own The Sonnets in 1964.

Elio's is the first "C" Press book I've actually owned, thanks to Kevin Killian, who generously gave me his own copy of In February I Think, a copy signed "For Bob Callahan / Love, Elio." Callahan was a Bay Area poet, editor, publisher, and "raconteur extraordinaire," according to his 2008 obituary, who co-founded the Turtle Island Foundation, a press whose catalog includes the elegant first edition of Bernadette Mayer's Midwinter Day. George Schneeman's front cover, a casually tossed off pair of black Converse sneakers, and back over, a stoic, handsome portrait of Elio, convey the mixture of adolescent spirit and the timeless, archetypal imagery that color Schneeman's poems. From the book's opening line, "Future references lead us nowhere," Elio marks an interest in looking at the now but not through his parents' friend's versions of New York School dailiness. While these poems are very much in New York, or "Soot City" as one poem names it, they portray the city as an environment to unfix with imaginative leaps into more unmappable, unconscious spaces. For example, the poem "Unstable Life Form State" begins on First Street and quickly moves to "a cove or inlet of the sea / where mountains once capped the snow towers." These grand, archetypal environments that appear throughout the book--the sea, mountains, a green land--are spaces of possibility and perspective, "adjoining landscape[s]" parallel to daily life and the street. The last lines of this poem are Schneeman at his best, gathering an enigmatic and dreamy sequence of images that reorder scale and sight: "outside, black / figments of the day thru a glass jar / stamp their effects on your periphery." Adding to this movement away from city sidewalks and the need "to shield the world of traffic," In February I Think is full of similes, simultaneously direct and indirect, that gain momentum in their comparisons until the "like," the technical hinge, begins to fall away, and Schneeman's cascade of comparisons transform into a gathering litany of generative associations. It's difficult not to enjoy a simile as joyfully incongruous and correct as "the business of relatives like some amber / hoax" from "The Jewel Staircase." I'm stunned at how completely the truth this line is, at the thinking that allows it to accumulate on the page, and at the wild textures of "some amber hoax." There's something wonderfully liminal in these poems, written within the strange growth of being 16 years old and yet in proximity to so many incredible older artists. The writing reminds me of those addresses that include half numbers, a residence complete unto itself, full and lived in and unique, but also irreducibly between. And while In February I Think is between generations, is in fact generational within the New York School, it also erases our odd, beloved dependence on "generations" to describe the New York School. "This relevance completely dumbfounds us," Schneeman writes, propping up a disregard for categorization, "who go on baffled by the instances / of time." From the end of "Channels": "The time sequence is of a new order / you really aren't where you think etc." I'm imagining that last line floating into view throughout the day, uncannily repeating on street signs, marked on walls, scrolling through a news feed, as a kind of wisdom or resistance or both. Funny and terrifying, it'd keep us alive.

I'm particularly interested in Schneeman's "Sonnet" dedicated to Berrigan, a formal sonic wobbling that begins with an off-balance, humorous near-statement of poetics "Symbolism objects equal footwear" and ends with the Spicerian "on the poem that never ends." Thinking of how instrumental Ted is in these poems, from Elio's workshop with Berrigan at the Church to In February I Think being published as a "C" Press book, it's hard not to read the line "you feed me lunch of cabbage and orchids" as a nod to Schneeman's personal and aesthetic apprenticeship to Berrigan where the common and the dazzling continuously mix and sustain, allowing one to "wrap [and] unite stuff." Whether in a "chintzy daze" or looking out of "hornrimmed glaciers," uniting stuff is exactly what the poem allows us to do. Reading love is reading "Sonnet" next to Elio's "To the Muse," a poem for Ted written after his death that appears in Nice to See You: An Homage to Ted Berrigan. The earlier orchids seem to magically reappear: "I'm always around if you want to visit. / We'll make each room our own, / Where I'll exhale fresh flowers, / Because of you." Fiercely devoted, near, and complexly aligned, I am totally overcome and in love with this poem's articulation of lineage and grief. "I need you to get me into the sky." In 1997, a few months after the death of Allen Ginsberg, Elio would die at the age of 35. His obituary in The New York Times describes him as "Poet. Son of George and Katie Schneeman." His funeral was held at St. Brigid's Church on Avenue B and 7th Street, the same church memorialized in Frank O'Hara and Bill Berkson's collaborative Hymns of St. Bridget ("My heart is corresponding oddly and with odd things," they write), a landscape, it seems, where the poem never ends.

One of the few descriptions of Elio's poetry comes from Vincent Katz, another son of the New York School born just a year before Schneeman. The following is Katz's blurb for Schneeman's A Found Life (Telephone Books, 2000), a posthumous collection:

George Schneeman with Elio Schneeman: "We lie in thick forests...," 1991 ink and collage on illustration board, 11'' by 8.5'' (from George Schneeman: Painter Among Poets).

Elio Schneeman's poetry, while filled with emotion and clear-eyed as to his own motivations, still seems to want to exist in a realm apart from daily life. Dreams, mists, evanescence are the dominant forces. It's difficult poetry to categorize --- poetry of nothingness which is not Zen but rather candid observation of daily patterns: 'the delicious drowsiness / of late afternoon, that slips / invisibly into evening,' as one poem concludes. His word patterns and rhythms are sure; they lull the reader into a dreamlike state, which is sometimes broken by odd turns: 'I want to caress / each layer of skin / like a fine fabric / to encase me in...' An almost Surrealist tone brings to mind Phillipe Soupault's Last Nights of Paris, which also traced visions vanishing on city streets. Elio Schneeman's poetry stands on its own and will.

In addition to In February I Think (1978) and A Found Life (2000), Elio's work also includes Along the Rails, published by United Artists in 1991, about which John Godfrey writes:

Elio Schneeman turns some interesting corners in ALONG THE RAILS. His writing is strong, often quite sophisticated. He is sometimes boyish or raw, but he writes smart, and his perceptions of feeling--real feeling, oblique feeling--are only self-conscious enough to be smartly written. I am impressed by how substantial he sounds, and how solitary.

A couple of years ago I was writing an essay on Ted Berrigan's little-known art writing for ARTnews, a lively, intense yet brief span of work from 1965 to 1966 in which Berrigan reviewed over 100 gallery exhibitions and produced a handful of feature articles. That essay, "The Pollock Streets: Ted Berrgan's Art Writing," was published in Fanzine as Part 1 and Part 2. Berrigan's devotion to art writing was a way to continue his own self-education in art and a way to stand alongside while insisting on a difference between himself and first generation poet-art critics like Ashbery, O'Hara, and Schuyler whose art criticism, unlike Berrigan's, is quite well known. I first found out about Ted's work for ARTnews reading his 1972 interview with Barry Alpert in Talking in Tranquility, and was a little stunned to find the information so out in the open, in a book published over 25 years ago. Finding Ted's contributions to the magazine was another layer of unexpected pleasure -- I just went to my university library where every issue of ARTnews had been bound and conspicuously shelved away. Sure enough, Berrigan's contributions were brimming in the mid-60s. While Ted didn't contribute to ARTnews after December 1966, he did publish one last piece of art writing in Art in America in March 1980 on his long-time friend George Schneeman. As Notley describes in "A Note on Ted and George" from A Painter Among Poets: The Collaborative Art of George Schneeman, Berrigan and Schneeman's friendship was full of a thick reciprocity organized around shared aesthetic spaces, a way to live. Notley writes:

"Ted was always collaborating with George, even when they weren't officially collaborating. And I think George was influenced in a general way by Ted's individualistic, ugly line (as evidenced in his signature) and by his complete assurance that the ugly was artistic and that he, Ted, was an artist too. (I can hear George telling me Ted's signature wasn't ugly, and I guess it wasn't.) When George says he is "unhandling" paint, in my interview with him in 1977 [originally published in the Chicago-based magazine Brilliant Corners and included in Notley's book Waltzing Matilda], I think he is voicing an esthetic partly developed with Ted. Obviously Ted and George shared a sense of humor, but they also shared a sense of sentiment, and something like an ethical tension. To what extent does one honor society's code (thus producing sentiment), and to do what extent does one go against these codes in order to be an artist?"

Below is the complete article, "George Schneeman at Holly Solomon," which is Berrigan's last published piece of art criticism. It's fitting that it's on Schneeman, whose paintings of Ted and their collaborations together are so wonderfully descriptive of the lives they shared. One will notice that Ted uses the same phrase, "unhandling," to describe Schneeman's use of paint, evidence of his ongoing attention to the conversation they had all been building together. And it would be wrong not to point out that the last line in this review, which describes a fresco featuring Ted, "the colors are serious – something portentous is at stake," directly echos these lines from Sonnet I in The Sonnets: "Still they mean something. For the dance / And the architecture. / Weave among incidents / May be portentous to him." Up in the air, a little sonorous wonder.

from Art in America Vol. 68, No. 3 (March 1980), pg 118

GEORGE SCHNEEMAN AT HOLLY SOLOMON

With his third show of frescoes in three years, Schneeman’s place among the most accomplished painters now coming to the fore makes itself obvious. The 23 paintings included were mostly small, though by no means diminutive, and their variety, arrived at through formal means (size, shape, dispersal of subject matter) made walking into the gallery a great pleasure.

Schneeman lived with his family in Italy, near Siena, from 1959 to 1966, and did some fresco painting then. During succeeding years in New York he painted mostly figures, on fairly large canvases in acrylic – friends and family both clothed and nude. These remain marvelous pictures, done in his characteristic manner of “un-handling” the paint (no brushstroke virtuosity), with drawing and painting often taken to mean the same thing. Highly admired by a few, this early work nevertheless brought the artist little of the notice or success that should have been his.

Schneeman’s first show of frescoes, three years ago, consisted of some 75 small examples, each 7 by 9 includes, mounted on 2 1/2-inch-thick cinderblocks. They were paintings of flannel lumberjack shirts in three-color plaids, flattened on wire hangers and depicted dead center on an eggshell white background. The show was a success, all the paintings were sold, and reviews were admiring. His show last year consisted of over 60 more frescoes, similar in size but of heads this time, and while loved his admirers, it was only a modest success. (Who wants a monumental object, that cinderblock, with the face of someone you don’t even know on it?)

This most recent show was a knockout from any point of view. There were four of the familiar shirts, on silver hangers this time and done in relief. They are perfect. The four window paintings, a shade larger than the shirts (9 by 8 inches), are almost equally accomplished, their kitchen-window curtains – also done in relief – opening out onto remembered Tuscan landscapes that the dazzling white window mullions divide into quadrants.

Also included were four landscapes, all complete winners. Three are rectangular, one recapitulating the famous Veneziano John the Baptist landscape, minus the saint. The fourth, my candidate for most charming picture in the show, is round, mounted on a rectangular white base, and slightly recessed so as to emphasize its distance from the viewer.

Finally there are the figure pieces, which are not portraits per se, but people sitting for paintings. Two such single-figure works are based on Piero di Cosimo’s Profile of a Young Woman. The first, Anita is of a ripe beauty; the painting is round and has been given a white mounting resembling a Duchamp rotorelief. It is all innocence and light, truly delectable. The second, Alice, is rectangular and dark, with storm clouds curling behind the woman’s dark, chopped hair. Her knowing but unspeaking face is paired with a sensual, womanly body that is all about earth and outdoors. A third painting, Britta, of an individual against landscape is one of the show’s real standouts. In front of a rough Tuscan landscape, in profile, is an implacably made-up European (German) head, with red hair tight across the forehead, and red lips.

The highlight of the show was a painting of the kind referred to in the quattrocento talk as a “Sacra Conversazione.” Three Figures/Landscape gives us three men in the foreground, the figure on the left turned into the picture, the figure on the right (who, I ought to point out, is myself) turned slightly outward. Behind them a third figure wearing a straw hat looks straight at you, smiling in a blissful awareness of stage center. The artist has used landscape to pull the picture together, and also to disguise the seams (Frescoes dry so quickly – within three hours or less – that only one figure can be painted a day. Next day, or session, more plaster is applied, and another figure may be added, etc.) Two of the figures have Hawaiian shirts on. The sky is a triumph, the figures are poised in attitudes befitting their countenances, the colors are serious – something portentous is at stake.

Ted Berrigan was born on this day in 1934, a date that is marked in The Sonnets in the echoing line "On the 15th day of November in the year of the motorcar." One of the most elegantly simple inventories of the self in the book, both entirely direct and oblique and full of the grand cadence that resonates throughout The Sonnets, the line also references Gertrude Stein's non-portrait of T.S. Eliot, "A Description of the Fifteenth of November," with its seemingly schedule-obsessed archiving of this date: "On the fifteenth of November have it a year. On the fifteenth of November they returned too sweet. On the fifteenth of November also." You can listen to a recording of Stein reading the piece in 1935 here. Berrigan, of course, was a great reader of Stein, and I'm sure was unendingly humored that his date of birth had always already been inscribed into the history of American experimental writing.

In celebration of this 15th of November in 2017, which also happens to be the year of the 50th anniversary of the Grove edition of The Sonnets, here are a few poems, recordings, and images from my work on Berrigan, a true Scorpio and irreducible poet. This first audio clip is brief, taken from Berrigan's first complete reading of The Sonnets in New York City in 1978, but it's been a statement I've returned to endlessly. Reverence is twisted, but it's a great pleasure to study Ted, his friends, and the ways his presence continues to work. As Clark Coolidge told me about his relationship with Ted, "I was just pleased to know this incredible guy." In my own way, I feel the same.

Below is Berrigan's poem "Scorpio," which appears in A Feeling for Leaving (Frontward Books, 1975).

A collaborative poem by Berrigan and Alice Notley from the archives at Emory:

An irreplaceable part of what I understand as studying is easing into a nonlinear, felt relationship with what's at hand (and what's not), arriving at and reading the exchangeable portions of authorship and writing while also sifting into the ephemera and noise that show how that writing is a life. If not in the archive, this usually means errant searches online for recordings and photographs, a more organized look via PennSound or UbuWeb, and deep searches on rare book sites like ABAA and Abebooks. Rarely, videos of poets might emerge. These videos carry an aura. I'm always a little stunned.

I was thinking of how special these videos are after a friend recently circulated a video of Kenward Elmslie made available by Ron Padgett. As Padgett describes: "Maxine Groffsky rediscovered a three-minute film she made of Kenward in 1972. In the first part he is in Louisville for a production of his musical (with Claibe Richardson) The Grass Harp. In the footage with him are the poet Gerritt Henry and the fellow who was directing the Louisville presentation. In the second part Kenward is in Calais, VT, in his vegetable garden and then walking back to his house. The film concludes with a guest star appearance by his dog, Whippoorwill."

The stills to the right are from the short film. The Jerry's Restaurant sign is just great, such a surprising yet perfect intersection of New York School artistic elegance with the monumental Americana that informs the humor of writers like Elmslie, John Ashbery, and Kenneth Koch. The shots from Calais are gorgeous, including iconic Whippoorwill in the yard, the dog that appears in paintings by Joe Brainard and who James Schuyler describes in "The Morning of the Poem," as my friend Aaron reminded me: "Yes, that whippet is / The one I nominate for terrestrial immortality … Love, love / Is immortal. Whippoorwill, I know that.” It's great to actually see the Calais house, too, which is described so often in Padgett's memoir of Brainard, Joe.

Below are just a few videos I've returned to often, including a selection from Larry Fagin's home movies from 1968-69, the Ed Sanders portion of "USA: Poetry" that starts with the more well-known Frank O'Hara section, a section of a Spanish documentary on the Beat Generation that includes (from 7:56-9:27) a walk-through tour of Ted Berrigan's and Alice Notley's apartment at 101 St. Marks Place, a hijacked video of a Notley lecture by Cassandra Gillig, and a 1990 reading by Elmslie at the Poetry Project. I'm always devoted to videos of readings, and there are so many incredible ones on PennSound, the SF Poetry Center Digital Archive, and scattered across YouTube. But the video recordings of these poets being themselves, not reading poems, being people, and being in places they inhabited -- those videos carry a little magic. The archive is always alive, but it's special to see it in motion, body, kitchen, paintings, pets, and all. There are too many details in the videos below to describe, too many little moments that act as artifacts. Like in the Sanders video from late 1965 we're inside Peace Eye Book Store with him, seeing the books on display (including copies of William Burroughs's Time, Philip Whalen's Every Day, and the magazine Mother with a Brainard cover), and then Sanders in front of the East Village Other newspaper offices -- it's incredible. I'm not interested in whether they're representative or accurate, performative or realistic, just that they're these particular images of this particular moment or movement. You become familiar with a red sweater or two, a mannerism, and you start to recognize the poems a little differently. I'd like to watch these videos entirely unprofessionally. I think that's what I'm advocating for. I mean, I'm watching them and studying, whatever that needs to be.

The names of artists like William Carlos Williams and Juan Gris populate Berrigan's The Sonnets, first published by "C" Press in a 1964 mimeograph edition, while in the echoey background texts by Arthur Rimbaud and Henri Michaux provide a purposefully mistranslated sonic architecture for Ted's poems. The braided devotion to sources that is the surface texture of The Sonnets is one of its most idiosyncratic, seductive characteristics, especially considering the range of works and artists that Berrigan culls sounds from, including his closest friends, literary heroes, musicians, and pulp fiction. However, reading The Sonnets we should be suspicious of any attempt to describe the sequence as the construction of a fixed personal canon. Berrigan is articulating a lineage but the poems never claim the establishment of a tradition. If anything, The Sonnets are marvelously disloyal both to the heritage of their form and to the context of their sources. The poems are about shape and sounds, texture as thought, not the secretive collection of a mastery of sources. These poems let a lot in. Ted's eagerness to send The Sonnets to a poet such as Conrad Aiken in January 1965, for example, gives a sense of his spacious, personal sense of his lineages and audience. As Ron Padgett writes in Ted, Aiken replied: "Thanks for sending me your book, which is fun, I think, but not quite my cup of mescal." Despite its generational flippancy, upon receiving this reply "Ted must have been flattered," Padgett writes.

As Berrigan says about the 1964 edition of The Sonnets, "This mimeograph edition we then mailed to every poet and anyone else too that I thought I would like really to have read it, by virtue of knowing their works." Despite Ted's willingness to distribute his work to poets he admired, I was still surprised to come across a folder in the "C: A Journal of Poetry Archive" in the Fales Library collection at NYU labeled "Correspondence and manuscripts - Marianne Moore." Ted had corresponded with Aiken, for example, and other writers as various as Charles Henri Ford and F.T. Prince, but Marianne Moore seemed like reaching into another world. Below is the first letter I encountered, from Moore to Berrigan, in which she ever-so-politely yet forcefully insists that she receive no further copies of "C."

Courtesy of the Fales Library and Special Collections, NYU

While the note is wholly reasonable, it definitely sounds like she's trying to get this "Ted Berrigan" to stop flooding her mailbox with these weird, over-sized mimeograph magazines. Moore's all-caps directive, "NO MORE COPIES," must have been at least a little deflating for Berrigan, even if her request was framed in these objective terms. By June 1964 Berrigan had already published eight issues of "C," filled with such un-Moorian poems as "Sonnet Written in the Time it Took Lauren Owen to Walk 100 Feet" by Padgett and "From the Gobble Gang Poems" by Ed Sanders. One imagines the issues stacking up on Moore's floor, the Warhol cover of issue number 4 of Gerard Malanga and Edwin Denby kissing staring up at her as she finishes final edits on "Granite and Steel." Simultaneous but wildly different New York's are overlapping in this note from Moore and it's great to see this piece of correspondence between two poets who are so avidly linked to the city's cultural imagination. Maybe there are more commonalities between their work than the narratives of 20th century American poetry are willing to provide. It's possible both Moore and Berrigan were "Dress[ing] in basic black / & reading a lovely old man's book: // BY THE WATERS OF THE MANHATTAN," as Ted writes in "Things to Do in New York (City)." Written when she was 76 years old though, Moore's austere note from Brooklyn does seem worlds away from Ted's burgeoning, pre-Poetry Project Lower East Side.

Even more interesting is the handwritten note by Ted that Moore has returned to him with her own handwritten response. It seems that Moore was one of the poets to whom Ted sent a copy of The Sonnets. He writes: "Dear Miss Moore, Please excuse this further invasion of your privacy, but I'd like very much for you to have this copy of my book. Sincerely, Ted Berrigan." Below this Moore has responded:

Keep the good throw out the bad, Mr. Berrigan. Page I makes sense to me, and your politeness (up above) -- But just neglect me for a while! And don't waste money on me, stamps or envelopes. Carve it all down. CONSERVE. M. Moore.

Moore seems to have returned the copy of The Sonnets he sent her, as along the left margin she's also written "(Perhaps you can sell the copy)." Her plea for him to be frugal would have likely resonated. The aesthetic prescription not so much. However, they seem to go hand-in-hand. It's possible to read Moore's insistence on a more scrupulous approach to writing and paper as a reaction to the new open field poetics and mimeo culture that was generated out of The New American Poetry, 1945-1960. It's funny though to see Moore describe how she "should hate to have the journal discarded" at the same moment she advises Berrigan to "throw out the bad" in his poems. Writing to Berrigan, trash is on her mind. Whether it's because she'd honestly like to "CONSERVE," as she says--to create more room in the room that she rooms in--or because she'd prefer not to be reading any more about how "high upon the Brooklyn Bridge / An ugly ogre masturbates by ear," we can't be sure.

Nevertheless, this rare exchange between two irreducible American poets offers a way of imagining our contemporary and historical lineages beyond the established narratives of 20th century aesthetics. Ted likely sent NO MORE COPIES to Marianne Moore, but this little correspondence is a way of seeing Berrigan's generous, intergenerational approach to his sources, however supposedly unlikely. Moore's reply might still have been fresh in his mind when he traveled to the West Coast for the first time to read at the Berkeley Poetry Conference in July 1965, what he jokingly refers to as his "rookie of the year" appearance in American poetry. I'm imagining Ted meeting Robert Duncan for the first time and saying something like, "Marianne Moore politely told me to fuck off. So now I'm here."

No Hassles: An Unhinged Book in Parts by Anne Waldman (Kulchur Foundation, 1971). Perfect bound, 151 pages, and dedicated to Edwin Denby, No Hassles is a fun, enigmatic book from early in Waldman's career that seems to be rarely mentioned in the limited scholarship on Waldman's work. Joanne Kyger quotes from it repeatedly in a 2005 essay "Anne Waldman: The Early Years... 1965–1970" in Jacket. Kyger writes: "33 St. Mark’s Place became familiar over the next year after poetry readings, on visits. Lots of people. Lots of funny outrageous behavior. Why are Ted Berrigan and Carol Gallup staying so long in the bathroom? I was still watching 30 minutes later, but everyone else had forgotten." And Kyger again, to set the stage for No Hassles: "In 1970 when Anne is 25, Ted Berrigan writes of her poetry (on the dust jacket of Baby Breakdown) as “an open circle with her many selves at or near the center, and those selves deal honestly and openly and passionately with what is happening to her, all of us, right now. That’s what Anne Waldman’s poetry is. NOW. Technically, she is impeccable. If her poems are clumsy in places, those are clumsy places. She knows what she is doing.... This book is an ordinary miracle.”

Cover by Brigid Polk.

No Hassles is a textual performance of what Ted calls Anne's "many selves," filled with art work by Joe Brainard, Donna Dennis, and George Schneeman, photographs, and collaborative pieces with Berrigan, Michael Brownstein, Ron Padgett, Bill Berkson, Lewis Warsh, Kenward Elmslie, and others to present a book that, rather than a typical poetry collection, is slightly "unhinged" from our expectations about how poems might be presented in a way that reflect and embody the social and aesthetic intimacy the poet has with her friends, many of whom are artists. Described on the title page as "poems, stories, heartaches, collaborations, comics & photographs," the book acts as an early experiential encyclopedia of New York School aesthetics. It's really just very fun to read and bounce around in. The title is doing the double work of sloughing off traditional literary expectations, with the cover image by Brainard of Waldman writing the book's title illustrating the straightforward, on-the-spot spontaneity and intimacy of her aesthetic, while also embodying a generational state of mind in the immediate post-60s Lower East Side, like, get off my back, we're living no hassles. It's also just a great little strange sound -- "no hassles." There's a huge American imagination in the book as Waldman is building this set of communities together in herself and in her work, linking the East and West coast poetry scenes, being with and in the work of all these artists and poets, driving around the country, running the Poetry Project. It's about being "in touch" in all the ways that resonates. The book kind of reminds me of Notley's Watlzing Matilda, if only because it's a longer book that includes this range of forms (poems and prose) and a long interview Alice did with George Schneeman, which is incredible. It's an irreducible, idiosyncratic book that way. It doesn't let you get all the way around it. You go through it and let it break all over. Some of my favorite poems in the book are "Bernadette," which is just the one word "cigarette," and the poem "Answer to Them," dedicated to Peter Schjeldahl that reads "Fuck all those guys in power! / We'll take care of business / with a little help from Anonymous." I also love the ending of the poem "Movie (But You'd Better Not Cry)": "Now more than ever it seems necessary to embrace them // & take into consideration / the full meaning of Jim."

"BOAT RIDES from photo of author by Michael Brownstein taken Oct. 1969 in Chicago," from "Some Credit Notes."

Anne was just here in Atlanta for two days for the opening of an exhibit at Emory's Rose Library, "The Dream Machine: The Beat Generation and the Counterculture, 1940-1975." There's this main stereotypical narrative that Anne is somehow "the last living Beat" because of all her work with Ginsberg founding and running the Jack Kerouac School of Disembodied Poetics at Naropa, because of the performative nature of her work, the way she trances the page into song in the tradition of Ginsberg, and her long path into Buddhism. There are definitely later books where a "Beat" thing is coming in and being remade for Anne's purposes, which are not Kerouac's or Corso's purposes, for example. But in early works like No Hassles Anne is completely a New York School poet, second generation or whatever, having a lot of very smart fun. Talking with her this past week about this book she told me that Lita Hornick, the publisher of Kulchur, showed up at the release party for No Hassles with all the copies of the book actually unbound, in these piles, because she had taken the subtitle "an unhinged book in parts" literally. "You can imagine," she said, "I was terrified." Nevertheless, the book was eventually printed and actually bound, and Anne went on to do a lot of amazing things, which she's still doing. Anne is irreducible and a very tender, funny person. See "BOAT RIDES" to the right for evidence. Below are a series of pages from No Hassles that give a sense of how special and varied the book is, including a comic with Brainard that, I believe, doesn't appear anywhere other than this book.

"Spirit-Graph" from "Weekend" by Waldman, Warsh, Berkson, Elmslie, and Brainard.

Daniel Kane's new book, "Do You Have a Band?": Poetry and Punk Rock in New York City (Columbia University Press, 2017), investigates a lineage of punk icons like Richard Hell and Patti Smith who inherited, appropriated, and furiously (dis)assembled their aesthetics out of and in unison with the poets and poetic lineages associated with New York City's Lower East Side. At the same time, Kane suggests, writers like Eileen Myles and Dennis Cooper were modeling their divergent styles, personas, and little magazines on their punk peers and predecessors. Kane's portrait of the reciprocity and defiance between innovative poetries and genre-bending musicians comes out of a deep, generous archival dive that includes the author's own interviews with many of the artists that populate the book's narratives. For example, I was totally delighted to get this story from Bill Berkson about going to shows at the Filmore, the iconic short-lived venue on Second Avenue (see Ada Calhoun's St. Marks is Dead for more Fillmore tales), which arranges surprising trinities like Ted Berrigan, Miles Davis, and Neil Young in one irreducible space:

I went to many shows at the Fillmore with Ted Berrigan, Michael Brownstein, Jim Carroll and others. The most amazing was a double bill featuring Neil Young and Miles Davis -- more properly, Miles Davis with his Bitches Brew contingent opening for Neil Young and Crazy Horse! [Rock 'n' roll music...] was in the room, the turntable, everywhere all the time. Lines from songs got into the poems, and the poems, like our conversations, learned to ride on this stream of continuous music.

In the play and energy of all this "continuous music," I love seeing Kane point to connections between specific bands and poets, noting how lines from the Velvet Underground's "I'm Beginning to See the Light" made their way into Berrigan's and Anne Waldman's poem "Memorial Day," "a text that owed as much to Charles Olson's characterization of the manuscript page as a field on which words could dance wildly as it did to Lou Reed and his friends." Rather than discuss a poetics of sociability in terms of "coterie" poetics, Kane describes the patterns of devotion between New York School poets and their various sources as wayward, flexible, and inclusive. The book questions our romanticized associations betweens poetry and music, and between musicians and poets, while recognizing how a sound or a lyric can float into a poem as a way to explode what language (or noise) is available. I appreciate Kane's thinking about "bad" writing and "minor art," too. Kane's description of work that is easily dismissed, and his explanation of why he's drawn to supposedly easily reducible work, resonates with the relationship I have with some of Berrigan's poems. Here's Kane in an interview with Andy Fitch about "Do You Have a Band?":

from The Fugs album cover, with liner notes by Allen Ginsberg that reference a lineage of counterculture figures for the author of "Howl": Burroughs, Whitman, Dylan, and others.

I’m really drawn to work that many people would understandably dismiss as fairly inconsequential. A text that always comes up for me when thinking about my love for “fun” poetry is a little Ted Berrigan one-liner titled “Kinks.” The entire poem is as follows: “I am kinks.” I also think back to work like Aram Saroyan’s one-word blasts, or even maybe his relatively epic works, such as an untitled poem which reads in its entirety “Ron Padgett / would approve / this idea.” These texts seem to me to represent an attitude towards poetry in which loose conversation or even a simple happy grunt is an idealized primary response. I’m not saying here that reading such works through a rigorous intellectual framework is somehow “bad,” by the way. I’m all for both/and.

One of the bands that appears throughout Kane's book is The Fugs, the notoriously noisy, unevenly "bad" proto-punk band led by poet Ed Sanders, the editor of the infamous mimeo magazine Fuck You: A Magazine of the Arts. Kane's narratives on Sanders's band reminded me that last year I bought a vinyl reprint of the second Fugs album, The Fugs, released in 1966, which includes the B-side track "Doin' All Right" written by Ted Berrigan with Lee Crabtree and Vinny Leary. I went looking for the album because of the song by Berrigan and, miraculously, a local record store had a copy for sale. The live version of the song, which you can listen to in the video below, begins with Sanders announcing "Ladies and gentleman, it gives The Fugs great pleasure, when the author himself is in the audience, to present tonight for almost its world premiere, the new Fug hit at the [inaudible], by the honorable Ted Berrigan..."Doin' All Right"!" At the end of the song Sanders yells "Author, author, author!" cajoling the audience into recognizing Berrigan who, surrounded by a clapping, hooting crowd announces, "That's the greatest song I've ever heard." Laughter fills the room. It's an incredible moment to have on tape.

The Fugs sound like a Captain Beefheart-Rolling Stones-DEVO mash-up, or Tom Waits giving an SDS speech to The Muppets, or Donovan yelling through wet noodles. The sonic dissonance between tracks, like the sound effects heavy, circus-y anti-war anthem "Kill for Peace" followed by the warm lullaby-like "Morning Morning," is smoothed over by both songs' parodic lyrics and raucous performative buffoonery. "Morning Morning" might sound like a sunny, introspective love song but Tuli Kupferberg's lyrics carry all the Fuck You-style sarcasm and absurdity of Sanders's "Total Assault on the Culture"-approach to music: "Moon shine moon shine / Moon shine drugs the hills with grace / And the secret of the shining / Seeks to break my simple face." It's like a cartoon Cat Stevens.

Berrigan picks up the Total Assault in "Doin' All Right," an upbeat bearded-hipster-about-town narrative where "I'm not ever gonna go to Vietnam / I'd prefer to stay right here and screw your mom." Rather than the heavy existential-political crisis in Crosby, Stills, Nash & Young's "Almost Cut My Hair," released six years later in 1970, where the narrator feels "like letting my freak flag fly / And I feel like I owe it, to someone," the narrator's beard in "Doin' All Right" is a sign of silly apathy and masculine sexual freedom, just "the hairs grownin' around my nose and throat" that make everyone else cry out in anger and disgust: "When you see me on the street you yell "Jesus Christ!" / But I'm getting mine / I'm doin' all right." The joke continues with a reference to a well-known but oddly worded Gillette razor slogan, "How are you fixed for blades?" which was traditionally sung by a cartoon parrot in Gillette commercials throughout the 1950s:

When I walk down the streetThe people that I meetHold their noses and say"How are you fixed for blades?"But I just walk on byI don't even hear 'emBecause I'm high

Even though these songs are thoroughly parodic and tongue-in-cheek, lyrics like "The only gook an / American can trust / Is a gook that's got / His yellow head bust" in "Kill for Peace" and "And I'm getting almost as much pussy as the spades" in "Doin' All Right" can and should be read as examples of the willingness of mid-1960s white counterculture to perpetuate racist stereotypes and employ racist language. Even if these satirical lyrics are being used to critique traditional American mores and the racist otherings that prop up those values, The Fugs are tossing out these derogatory terms to a mostly white youth audience that sees itself in opposition to a mostly white conventional audience. While Kane's book expertly explores how protest, literature, an expanding feminist ethos, and the intergenerational, interdisciplinary aesthetics of poets and musicians fostered the birth of punk culture on the Lower East Side, the book does not chart how race or racism influenced or underlined the discourses and aesthetic transformations that defined punk.

David Berrigan, Ted's son with Sandy Berrigan, once wrote a short, memorable piece called "Ted's Music" that mentions "Doin' All Right" and gives an amazing portrait of Berrigan's relationship with the music of his generation. I'll close this post by quoting the last half of David Berrigan's piece, from 2012:

This year I was in Stockholm, which has a lot of vintage vinyl shops, I had a mission to find a copy of the Fugs eponymous album because it includes the track “Doin Allright” [sic] that Ted wrote [...]. I already had a copy, but I wanted two so both my sons could have one. Maybe they will have record players someday. Jim Carroll also based a song “People who Died” on one of dad’s poem of the same name. You can find both versions online. I remember, briefly, wishing he could write a few popular songs and make a lot of money.

In 1977 I played him “Hey There Little Insect" by Jonathan Richman and the Modern Lovers. I don’t think he was impressed, but it presaged my entomological career. I think dad loved Dylan the most, our penultimate visit was at my graduation from Reed College in Portland OR in 1983, I lived with friends in a big old house. They had a good stereo and a lot of records. I remember dad lying on the floor in front of the records singing along to "Sad Eyed Lady of the Lowlands" and scoping out the collection.

In the far corners of the art-minded, archival internet, impossible things tend to emerge. Here is a recording of an interview with Andy Warhol at the Factory in 1965 which happens to include a slice of conversation between the interviewer, Gerard Malanga, and Ted Berrigan.

This recording was made the day that Warhol did a screen test of Berrigan, a still of which appears on the back cover of Nice To See You. Some googling led me to this after reading Reva Wolf’s Andy Warhol, Poetry, and Gossip in the 1960s where she quotes a transcript of the interview. I’m writing an essay about Berrigan’s novel Clear the Range, part of which is about Berrigan’s relationship to Warhol and Pop Art, so hearing them talking together here is amazing. I’d love to see the actual screen test, too. Warhol also did screen tests of Ashbery and Ginsberg. A lot of this is a combination of background noise, music playing, whitenoise, phone calls about parties and money, inaudible voices, an on-and-off interview, and normal chatter in keeping with Factory-era audio recordings. The entire thing is pretty incredible. The description says Brainard is here but I can’t pick out his voice.

Malanga: Oh yeah. (in background) Ted Berrigan, what about the movie you just did?

Berrigan: What about it? (laughter)

Ehrenstein: Did you like what you did?

Berrigan: Uh sure, it was wonderful.

Ehrenstein: You said tears were coming into your eyes.

Berrigan: I was looking at the light, to see what it looked like, and (mic cuts out) …It was all really wonderful. I loved myself every second. (laughs) I looked at the camera and it looked like, the light made it look like a big blue flower and so I looked at it each time until the flower effect wore off and then I looked at the light for a few more minutes until it came on again.

My essay on Ted Berrigan's short-lived yet prolific work as an art critic for ARTnews can be read in full at Fanzine, where it was published as "Part 1" and "Part 2."

From Part 1:

"In the early-mid 60’s, Berrigan was saturated in the aesthetic accelerant of the hybridizing New York art scene, regularly attending museums, plays, and operas, watching French New Wave films, avidly reading about the modernist avant-gardes, and collaborating with other poets and painters. He was a casual visitor at The Factory and Warhol even gifted him a Brillo Box that, as Ron Padgett describes, Berrigan “personalized” into a clustered, stained coffee table in much the same way he “personalized” lines from other poets into his own works, such as The Sonnets. It was a time of floating silver foil, cut-ups, and Blonde on Blonde and Berrigan stood giddily and seriously in the middle of it. In 1964, looking back at his first few years in New York, Berrigan writes “Joe [Brainard] and I used to go almost every day to art galleries and museums and drench ourselves in paintings, starting up at 86th street and Madison, and hitting just about every gallery from there to the [M]useum of Modern Art where we would sit in the garden and have coffee delirious with all that art and the way even the telephone poles and drugstores had turned into paintings after a few galleries.” These are “the Pollock streets” of The Sonnets, an aesthetic stage where Berrigan’s keen associational eye was able to trace a generative compendium of artistic influences and historical networks, such as when he claimed Jean Dubuffet “is Paul Klee as King Kong” after seeing a show of Dubuffet’s at MoMA. When Berrigan started writing for ARTnews in March 1965, it was part of his continued, fluid engagement with an intimate, generative community of artists."

From Part 2:

"In his 1966 article, Berrigan calls this ability of Grooms his “Red Power.” Continuing the earlier association with the comics, he writes,

I like Red’s paintings even better than the funnies, mostly because they are so much richer. There is more detail, less story, more mystery and less art as art. Because his paintings are not so neat, and because the people and things (tables, dogs, window-curtains, playing cards, hands) seem so important simply because they exist, Red’s paintings sometimes seem very scary. The domestic scenes he has painted, such as Loft on 26th Street, the cut-out painting of 1966, are much more haunting than they are delightful, despite their bright Pop colors and the near-comic air of domesticity they strike. In fact, there is something awful about the autonomy of each person and object pictured, as if someone or everything could very well go totally berserk at any instant and it would be just as logical as not.

The combination of a hectic, disorienting surface paired with a colloquial vision of representational depth was one of Berrigan’s own poetic modes. Grooms’s ability to charge a piece with intimacy, humor, and pathos, all the while approaching and appropriating the work’s own aesthetic influences with a witty, devotional self-reflexivity, seems to have made him one of Berrigan’s favorite artists at the time. That he describes his appreciation of Grooms’s paintings in narrative terms–“more detail, less story, more mystery and less art as art”–speaks to a turn in Berrigan’s writing signaled by the more immediately domestic, autobiographical poems that would appear in Many Happy Returns. This idiosyncratic approach to representing the personal runs through each of the three artists Berrigan wrote about in his feature articles, and it is worth noting how conscientious and passionate Berrigan is about portraits and paintings full of people. His poems have exactly that intricately layered devotion to the people in his own life, and like these artists, such representations were always about the poem rather than about the person, a valuing that never resulted in loss of feeling. The presence of people, of friends, was an occasion for making art."

Back in Boston Again by Tom Clark, Ron Padgett, and Ted Berrigan (Telegraph Books, 1972). I found out about this book from Aaron Fischer’s Ted Berrigan: An Annotated Bibliography. It’s a small book, 7x4.5 inches and 48 pages, with a foreword by Aram Saroyan, “Forward,” and 3 short sections, one each by Tom, “Ten Things About the Boston Trip,” Ron, “Back in Cambridge Again,” and Ted, “Ten Things About the Boston Trip: An Aside to Ron & Tom.” The picture of the cover is of Chris Martin’s copy of the book, which I was coveting on his couch in Minneapolis last week. I asked Chris to send a picture of it because the copy I ILLed was rebound in one of those generic hardcovers and they removed the original front and back cover, which is very stupid, because the photograph on the cover is by Rudy Burckhardt, the photographer and filmmaker associated with the New York school who was Edwin Denby’s bff. The cover photo has a kind of Cornell box-like arrangement. Burckhardt made a series of short films with Joseph Cornell in the 50s, some of which are up at UbuWeb. I recently found a copy of Burckhardt's Films, which collects his collaborations with John Ashbery, Jim Carroll, Denby, and many others.

The entry in Fischer’s bibliography gives some background on the press: “According to Victor Bockris, Telegraph Books was a collaborative press that he founded late in 1971 with Andrew Wylie and Aram Saroyan (who indicates that the word "Forward” is not a deliberate misspelling.) Back in Boston Again was the fifth of ten titles published in the course of the eight to ten months that the press was active. At the time, Bockris was working at Folcroft Press, which was located in ‘an obscure suburb of Philadelphia’ and dedicated to reprinting out-of-print literary criticism. He used its facilities to print and bind all the books done by Telegraph.“ The back cover has the Telegraph Books logo, where the "T” looks like a telegraph pole, and the price of the book, which was $1. The back matter lists a few other titles published by Telegraph, including Saroyan’s The Rest and Gerard Malanga’s Poetry on Film. The copy I ILLed is signed by Tom Clark. Chris’s copy is signed by Ron Padgett.

Back in Boston Again is about Tom, Ron, Ted, a few other people going to/meeting up in Boston where Aram was living at the time. You can read the book really fast, just a few minutes. Aram’s foreword is brief and dryly funny as he “introduces” his three friends, basically noting that Ted talks a lot, Tom is smart, and Ron likes to read. Tom’s section is a series of short poems in quatrains that mostly play with using a lot of names in short lines but come off as very bro-y, or maybe like he’s trying to be “cool” about being on this trip with Ron and Ted. I bought his Easter Sunday at The Haunted Bookshop in Iowa City last week and want it to be good and not bro-y.

Ron and Ted’s sections are both made up of short prose pieces. Ron’s read like James Tate narratives, a la Return to the City of White Donkeys, but seem entirely “real,” other than one about a woman who says she has plastic bones in her leg. They’re funny and warmly odd and straightforward in that Padgett way and about how he doesn’t know what a lilac looks like and getting yelled at making Xerox copies and not being able to order a chocolate malt. Here’s one in full where Ron says “zonked,” which is such a Ron thing, and drops a Yeats reference:

Aram had expected only Tom from New York, and in the afternoon, so when Larry, Ted, Tom and I banged on his door at 11 a.m., he came down the stairs, still zonked by sleep, opened the door, could hardly trust his senses when he saw the four of us standing there in the brilliant sunlight, all very tired from not sleeping the night before, all of us excited, all of us talking to him and each other and ourselves at once. The center was not holding. When I break-the-icingly suggested that we try again tomorrow, he invited us in. Someone asked about coffee and Aram said, “Yeah, man, come on in the kitchen.” He led us to a doorway, over which hung a curtain of red burlap. We parted the burlap and stepped in…to the bathroom. We must have stayed there several minutes, no one daring to mention the fact that we weren’t in the kitchen.

Ted’s section is very funny and more wrapped up in the literary side-trips of the trip to Boston, like what book he got for free at Grolier Book Store in Harvard Square (now Grolier Poetry Book Shop), and going through back issues of The Harvard Advocate in the Lamont Library looking for old poems and stories by Frank O'Hara, “one of which, called NOT WITH A BANG, was hilarious. It made me think of Rene.” He means René, part of an early 19th century French novel by Françoise-René Chateaubriand. (Note: an email from Aram Saroyan corrects me on this point, saying that “Rene” is likely René Ricard, which makes much more sense.) Saroyan’s foreword says they took the trip to Boston a “few years” ago, so probably 1969 or '70, only a few years after O'Hara’s death. Ted’s devotion to O'Hara’s work and its influence on him are well documented, but whenever I come across Ted mentioning Frank, especially in less discussed texts, it really shows how deeply Ted revered O'Hara, how sacred and deep that love was. Even in the early 80s, just before his death, Ted was still copying down O'Hara poems and quotes into his journals. In a journal I looked at with Dan at Emory, one page has O'Hara’s “Poem to James Schulyer” written out in full with what looks like a newspaper picture of Frank pasted onto the page. It’s a very deliberate, careful act of love.

Ted made Xeroxes of everything he found of Frank’s in the Harvard Library, which is when Ron had a hard time and got yelled at by the copy guy. Ted’s section also talks about how he got a sunburn, bought a striped polo he wore every day of the trip, and broke the zipper on his pants.

After getting Xerox copies made of the works by Frank, I went to the Men’s Room, when after a brief interval for the greater inconvenience, my zipper broke and my pants were rendered useless. I had no underpants on. I closed my pants as best I could, which was not at all, and sauntered out of the Library, across the street, and into a men’s clothing store, where I purchased a pair of light brown LEE trousers. No one else on the Boston trip mentioned my new trousers, even though my former pants were blue-and-yellow striped. I left them at the store.

The idea of Ted walking around Boston in blue-and-yellow striped pants and a striped polo like a burly Bob Dylan sailor is amazing. Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again” could totally have been a source for the title Back in Boston Again. At one point everyone is hanging out listening to The Beatles. In another piece, Ted talks about smoking a joint on a park bench in Cambridge. “I thought about Frank. I was smoking grass.” The last page of the book reads, “I was in that park about a year. Never did feel in a hurry. I was in love.”

Memorial Day by Ted Berrigan and Anne Waldman (Poetry Project, 1971). In the last few years Memorial Day has received some attention, first in 2012 when the audio recording from Ted and Anne’s initial reading of the poem at the Poetry Project at St. Mark’s Church In-the-Bowery on May 5, 1971 was found in Robert Creeley’s audio archives and posted on PennSound. Michael Hennessey has an article, “Recovering ‘Memorial Day’” at Jacket2 about finding that recording: https://jacket2.org/commentary/recovering-memorial-day. What I love most about the article is Anne saying she had “a recording of a recording of a recording” of the poem made by Clark Coolidge. This note, along with the tape showing up in Creeley’s archives, especially after it had been considered lost for so many years, shows how valuable this poem was to a wide variety of poets. And not only the poem itself, but the event of its being read and heard. It is a poem that needs to be heard.

Then last year a video of Ted and Anne reading Memorial Day was posted on the Smithsonian’s Archives of American Art channel. I don’t think anyone had any idea it existed. The video description says: “This reading of Waldman and Berrigan’s poem "Memorial Day” was performed as part of a reading series at 98 Greene Street Loft curated by the poet Ted Greenwald. The video was shot by Sandy Hirsch on the only video format that existed at the time, ½ inch open reel video, often referred to as Portapak, and like any video shot in this format from the late 1960s to early 1970s, it is now a very fragile historical document. Digital preservation of this video allows us to now view it and share it with the public for the first time in decades. The Archives thanks the Berrigan estate, Waldman, and Hirsch for their generous permission to share the video on our YouTube channel": https://www.youtube.com/watch?v=CjfWeiTTvnw. I had just found the audio recording of Memorial Day last year like a week before this video surfaced, so my seduction at the hands of the recording immediately became an obsession as I watched the video over and over.

In Ted Berrigan: An Annotated Checklist, Aaron Fischer quotes Anne Waldman about the making of the book:

“Ted & I were scheduled to read several months in advance at The Poetry Project on Memorial Day. Not sure we originally requested this date, but the day fell out that way and we were psyched, having an 'occasion’ to focus on that would also jar some collaborative writing. We were both living that spring in Long Island. I was in Bridgehampton, renting a house with Michael Brownstein Kenneth Koch later bought. Ted and Alice Notley were in Southampton in Larry Rivers’s place there. Ted was always somewhat 'charged’ by the subject matter(s) of death, loss, friendship and the energy & challenge of bumping up against another poet in 'making’ work. Some friends of ours had died by then and we saw the potential piece as an homage, a commemoration, a meditation, and we definitely composed it with the oral reading of it very much in mind. It was kind of a psalm, hymn, litany all blended together that allowed for story (epic that you tell the heroes’ tales) - some decidedly musical form. We weren’t living far away from each other but decided to collaborate through the mail. So we went back and forth at least five times. As the time for our performance drew near it fell on me to 'organize’ the text which were 'clusters’ to my mind out on the Bridgehampton studio floor and letting my eye and ear jump around with scissors and paste. I think we both (after the initial organization) looked it over & Ted went with my arrangement with very minor emendations. The decision on the last part (’& Now the book is closed’) was mutual and we orchestrated it with great intentionality (pretty much alternating lines) for our public performance. The 'closed’ chant originally came from hearing Chris Gallup (Dick & Carol Gallup’s daughter) saying that things were 'closed’ as she drove a street or highway in a car (possibly on Long Island?). Ted had picked up on this and I went with it wholeheartedly. Larry Rivers did a terrific collage work that we translated into a flyer for the event (Nice To See You, p.119). We were in great form, the performance felt exhilarating and powerful. Ted 'borrowed’ the audio tape made that night which he played on numerous occasions. Where is it now?

The cover is by Donna Dennis who I think has a section in Nice To See Youwhere she talks about spending time with Ted and making the cover for Memorial Day. There’s an alternative cover included there, too. The line "Nice To See You” comes from Memorial Day; the words Ted says he’d like on his grave. Frank O'Hara’s death is a huge part of the poem, too, and I’m sure the idea to write a Memorial Day poem had a lot to do with Frank’s “Memorial Day 1950.”

The audio and video recordings are breathtaking, each in their own way. I feel like I’ll never get over this poem, but that’s just as much about the poem as it is the banter at the beginning of each recording, especially the audio. How Ted and Anne joke with one another explaining the poem’s process, Ted putting on his tender bravado, Anne’s wit mixing with his performative masculinity. Then this incredible joke: “Anne and I have been married for twelve years now and we’re living testimonial to how marriage can work,” Ted announces. Everyone laughing. “Go ahead, honey.” “Ok, baby.” And they start reading, exchanging sections of the poem back and forth as they read. “Today / Open: Opening: Opened:” says Anne. And then Ted: “The angels that surround us / die / they kiss death / & they die / they always die.” It’s so clear how much they love each other.

I had been obsessively listening to the 1981 recording of The Sonnets for a while before I became familiar with Memorial Day, but it was really Memorial Daythat bound me to Ted’s work. Last summer Carrie and I wrote a long poem after Ted and Anne’s poem called Labor Day, which is about work in the way that Memorial Day is about death, that was recently published as a double collaborative chapbook, along with Tyler and Layne’s Collected Feelings, by Forklift, Ohio. Writing with the people I love is such a part of that love. Ted and Anne are so good at showing us how our love existed before we did. It’s significant that Memorial Day is included in Ted’s Collected Poems, a rare inclusion of a long collaborative work in a space that is typically restricted to a poet’s singular output. One imagines Ted would have insisted it be included, too.

I ILLed the original stapled mimeo pamphlet, which is the one handed out at the initial reading in 1971, and read it today, Memorial Day, while listening to the recordings of them reading the poem. I sat on this couch and Carrie sat on the other couch. The original is so gorgeous, the lines spread out on the large pages, all the little typos, the shaky, uneven typewritten font, how the ink bled through onto the back of the pages. Maybe the most amazing thing about it is that the back cover is another front cover, as if the book’s beginning and ending had been confused, as if it didn’t end. Ted believed in cycles, and this object bears out that sense of how time collects, returns, and is revoiced. Carrie just said to Jared on the phone, “I’m glad you’re okay. I’m glad you’re okay.” Later we’re going to eat a watermelon we took from a dumpster last night. Our grave is going to say THE PONIES WERE JUST HERE.

I just finished an essay on Ted Berrigan’s novel Clear the Range (1977) and one of the things I found really interesting while researching the book was the possibility of it being influenced by Ted’s interest in foreign films. Clear the Range is a transformed western, in the same sense that Star Wars is a western, and though it’s been well-documented that Ted loved the “badness” of western and gangster movies, his attraction to more experimental cinema like French New Wave hasn’t really been talked about. In March 1962 Ted wrote to his first wife Sandy about seeing Jean-Luc Godard’s Breathless (1960), Michelanglo Antonioni’s L'Avventura (1960), and Alain Resnais’s Last Year at Marienbad (1961). And that was just during one month. Pop Art film also could have been an influence. Berrigan was friendly with Andy Warhol, used one of Warhol’s Brillo boxes as a coffee table, and was probably interested in the “boringness” of Warhol films like Sleep (1963), Empire (1964) and (we can only hope) Taylor Mead’s Ass (1964). Warhol conducted a screen test (ST22) with Berrigan in 1965, so Ted was pretty intimate with the avant-garde film scene in the 60s. I write about this in my essay, which will be published sometime soon, but it’s interesting enough to bring it up outside of Clear the Range, if only to show how I got to this point in reading Berrigan and suggest that we look for ways to read more poets through aesthetic frames other than literature. The below passages are from Dear Sandy, Hello: Letters from Ted to Sandy Berrigan edited by Ron Padgett and Sandy Berrigan (Coffee House Press, 2010). The fact about Ted’s Brillo box is from Ron Padgett’s Ted: A Personal Memoir of Ted Berrigan (The Figures, 1993).

March 4 or 5, 1962: “Tonight Dick [Gallup] and I and Joe [Brainard] are going to see Breathless and L'Avventura in a double bill. You and I will see them again when you are here. Breathless is so frantic, so nervous, so controlled anyway. So alive. L'Avventura is like a dying life. Days take minutes. Seconds sometimes last for hours. In both pictures, from opposite sides of the coin, marvelous things are done with time. To rip out of the mind of human beings the dead concept of time as mathematical…time is not arithmetical. Nor is it geometrical. It is magic.”

March 31, 1962: “I went to see a movie called Last Night at Marienbad. It’s the new movie by Alain Resnais, who made Hiroshima Mon Amour. It’s a collaboration with the French writer Alain Robbe-Grillet, and it is one of the greatest things I have ever seen….The movie is presented in such a way as to make it all seem unreal and real at the same time. The characters sometimes move as if they were in a slow-motion ritual dance. Sometimes they are completely symbolic, other times completely flesh and blood. There is no story nor plot as such. Time is almost nonexistent in a chronological sense. There is only night and day, darkness and light….The move is masterful. It concerns life and death, and the chance for new life. If only people would remember when they were alive, they would always renew their lives. But they don’t remember. There is always something between them and life: walks, games, responsibilities. They don’t remember.”